The Beguiled

(1971)

"The Beguiled" is one of my favorite Clint Eastwood films, and a departure from his typical early roles. Directed by Don Siegel, with whom Eastwood collaborated on several films, it was made a year before Eastwood's directorial debut with "Play Misty For Me". An alternate title considered for the film was "Pussy-Footing Down At The Old Plantation", which thankfully was not used, otherwise I am sure raunchy jokes about the fact that it takes place at a girls' school would be difficult to avoid. I first saw this movie in one of my college film classes in the mid-1970's, and was immediately taken with it. I only had an old battered VHS tape of it until I recently purchased the widescreen DVD, which also includes the hilarious, awful trailer that makes the film come across as a "Peyton Place" soap opera, and conveys none of its creepiness.

Interesting notes: Eastwood and Siegel had to battle with Universal Pictures to keep the original ending, and they won out; and, the film was billed as a standard Eastwood western, which it certainly is not. It is a gothic tale of deception and horror set in the time of the Civil War, with an underlying tone of eroticism and sexual tension running throughout.

I'm not putting any spoilers in this review, and if you want to see the film as it should be seen, then be careful of looking it up on the internet, as spoiler reviews of it do abound.

Clint Eastwood is John McBurney, a Union soldier shot on Confederate ground and discovered by a young girl from a nearby girls' school. She rescues him and takes him back to the school, but instead of notifying the local patrol of his presence so that he will be taken to prison, the headmistress, Miss Martha (Geraldine Page), her assistant Edwina (Elizabeth Hartman), their black servant Hallie (Mae Mercer), and the mostly teenage girls take him in, start to heal him, and fall under his spell. The atmosphere of gothic horror starts from the titles, real battleground shots from the war are shown, and Eastwood's voice is heard quietly singing a funereal song of the time.

The opening scene of his encounter with the little girl who saves him sets the tone of his character, and the tone of the entire movie. To say any more than that would spoil the surprises in that first scene. To say much more about the film itself might ruin it for anyone who hasn't seen it...if you are into creepy, gothic tales, find it and rent it. Eastwood is excellent, and it's interesting to see him in an early role, or any role, where he portrays a character that is for the most part very unsympathetic.

Geraldine Page had a plum role as the headmistress, and I cannot imagine another actress of the time being as good in the role; a long shot could have been Piper Laurie, but I don't think Laurie could have embodied it in the same manner as Geraldine Page.

Elizabeth Hartman (whose wonderful performance in the film "A Patch of Blue" as a blind girl who falls in love with Sidney Poiter's character is another high point in her short career) is at her prime here, delicate and masterful at the same time. Unfortunately, her delicacy on film was also a part of her real life; she committed suicide at age 45.

I end this review with this observation: one manipulative, lying Yankee man is no match for a houseful of deceptive and libidinous Southern belles.

Harvey

(1950)

"I've wrestled with reality for 35 years, Doctor, and I'm happy to state I finally won out over it."

Jimmy Stewart, in one of his personal favorite film and stage roles, portrays Elwood P. Dowd, a gentle philosopher and harmless alcoholic who, after his mother's death, befriends an imaginary - or is he? - 6'3.5" white rabbit; a "Pooka" who goes by the name of Harvey. Unfortunately, Harvey is invisible to just about everyone but Elwood. Elwood wanders through life perfectly happy, harming no one, but alienating his family and many of the townspeople with his "friend".

Josephine Hull, (who won a Best Supporting Actress Oscar for her role in the film; she also played the part on stage) portrays his sister Veta Louise Simmons, and she steals the film, IMO; her facial expressions and gestures are priceless (she also played one of the aunts in "Arsenic and Old Lace", 1944).

Jimmy Stewart found himself personally identified with the role for many years, much to his delight, remarking in interviews how strangers would sometimes stop him in the street and seriously ask him if Harvey were with him, only to be kindly told, "No, he's at home today, with a slight cold" or some other humoring excuse for the lack of his invisible friend.

The pacing is fast and furious, and the dialogue alternately hilarious and touching in this whimsical, bittersweet tale of illusions and realities. Of course the movie is dated and implausible today in several respects; however it still holds a gentle, childlike appeal that transcends time. It's a great, simply-told "feel-good" movie to start off the holiday season.

The Night of the Hunter

(1955)



Trying to explain "The Night of the Hunter" to anyone is difficult. It's not the story that matters so much as how it's told, as directed by Charles Laughton in his one (credited) directorial effort. It is said he never directed again because the reviews of "The Night of the Hunter" discouraged him so much.

Robert Mitchum is "Reverend" Harry Powell, a self-appointed preacher who preys upon lonely widows - "What'll it be now, Lord? Another widow?" - killing them for their money as he believes the Lord has instructed him, and then moving on to the next victim. While in prison briefly on a car-theft rap, he shares a cell with Ben Harper (Peter Graves, best known for his role on the old TV show "Mission Impossible").

He tries to worm the location of the money from Harper before the execution. When he is released from his brief prison stay, he heads straight for Willa Harper (Shelley Winters); Ben's weak, sweet, sexually frustrated, somewhat dense widow, and her two kids.

There is just so much going on in this film: biblical references and symbolism; Freudian symbolism (Powell's knife brandished in a couple of scenes as a warped version of a phallic symbol); Mitchum's and Gish's amazing performances; various other, interesting, smaller storylines; a scene reminiscent of "The Cabinet of Dr. Caligari" (1919); Powell's tattoos of "Love" and "Hate" on his knuckles; and the dream-like, surreal riverboat escape sequence. The children, played by Billy Chapin (John Harper) and Sally Jane Bruce (Pearl Harper) give effective performances. There's also the over-the-top campiness in some of Mitchum's acting, which fits in perfectly with the stylized direction of the film; the sexual undercurrent and its repression that runs throughout (and no one played whiny, sexual frustration in those days better than Shelley Winters, as evidenced by this and other roles such as the mother in "Lolita" (1962): "Harrrrrry! I'm lonnnnnnnely!" and her role as the cast-aside pregnant girlfriend in "A Place in the Sun" (1951).

Lillian Gish is wonderful in her portrayal, standing up to the evil Harry Powell, and Robert Mitchum is perfectly cast in what some see as his best film role; his charismatic, handsome, oily, smooth portrayal of the serial killer Harry Powell surely must stand as a study guide for today's actors. Mitchum seemed to reprise much of his technique for this performance for his subsequent role in "Cape Fear" (1962).

I really can't say much more without going on and on for pages. Each scene could be written about and analyzed in detail; each scene is lit and photographed and told in a manner that has a director's hand prints all over it. It's a true artist's film, and we will never know what other wonders Charles Laughton could have directed. I have read of some viwers who laughed through much of this movie, which is unfortunate. I find it difficult to comprehend that reaction from any intelligent viewer who was really paying attention. I guess you either "get it", or you don't, which may have something to do with the film's dismal success when it was released.

This under-appreciated film is a ghoulish twist on a classic story, directed (and mostly written, it is said, by Laughton, after his arguing with James Agee over the rendition of the screenplay) in a masterful manner by a man best known for his own portrayals of classic film characters such as Captain Bligh in "Mutiny on the Bounty" (1935), and Quasimodo in "The Hunchback of Notre Dame" (1939).

The hymn "Everlasting Arms" recurs throughout, and could never sound the same again after this film.

Go. Go at least to rent this movie, or better yet, buy it. It's a one-of-a-kind masterpiece, IMO.

Phantom of the Paradise

(1974)

Favorite quote: "There really is a phantom! He was just in my shower!"

This is one of the few films where Brian DePalma's sometimes stilted and melodramatic directorial methods (screen wipes, split screens, etc) are used to perfect effect. This satirical, extremely funny rock opera is an adaption of the original "Phantom of the Opera", with some Faust and a bit of "The Picture of Dorian Grey" thrown into the mix.

Paul Williams portrays Swan, a devilish music producer who steals composer Winslow Leach's original rock cantata score. Leach (William Finley) is disfigured while trying to wreak revenge on Swan, then succumbs to Swan's invitation to re-write the cantata if Phoenix (Jessica Harper) is allowed to perform it. The music alone is worth having, as Paul Williams is an excellent songwriter, with serious songs such as the haunting "Old Souls" (beautifully performed by Jessica Harper) included along with the campier fare. It's well worth watching over and over, played through your stereo, LOUD!

Several scenes and characters stand out: Beef, portrayed by Gerrit Graham, is my favorite: a mixture of the ridiculous "glitter rock" musicians of the time, with an ultra-effiminate side. Jessica Harper, in her first screen role, is sweet, pretty, an excellent singer, and her little dance around the stage as she auditions (I call it her "chicken dance") for Swan never fails to make me laugh out loud. Paul Williams is kind of creepy-looking on a good day, and is perfect for this part.

This is as good a movie, if not better, than "Rocky Horror Picture Show", but it has not as yet attained the level of popularity it deserves.

Of Human Bondage

(1934)

Bette Davis became a star with her role in this first and best film adaptation of the Somerset Maugham novel of the same name (well worth a read). This was her first nomination for an Academy Award, for her portrayal of Mildred Rogers; a tawdry, sluttish, cockney waitress who bewitches hapless Philip Carey (Leslie Howard, best known for his role as Ashley Wilkes in "Gone With the Wind"). She lost the award, receiving it for her role the following year for "Dangerous", which is generally viewed as a consolation prize.

The supporting cast includes Reginald Denny, Alan Hale Sr. (father of Alan Hale Jr., who was the skipper on the TV series "Gilligan's Isle"), and an angelicly beautiful Frances Dee.

The film starts out with Philip, a failed art student with a clubfoot (about which he is highly sensitive), turning to the study of medicine after facing that he has no artistic talent. Shortly thereafter he meets and quickly becomes obsessed with Mildred, despite her sneering and obvious disdain for him because of his deformity. Her standard response to his affectionate overtures is a chilly "I don't mind." In his dreams Mildred is sweet and kind to him; during real time she uses him, well aware of his affection for her, leaving him for other men and returning when she is down on her luck, ruining his chance for having a career or a normal life with another woman; but he finds himself inexorably drawn to her, even after his love for her has waned, until the day she finally pushes him too far, and he says, "You disgust me."

With those words, the camera turns fully to Mildred, and her facial expression flickers, then shifts from supplication to shock to full-on bitch in a matter of seconds, as she reacts to Philip's statement with a barrage of blood-curdling insults. Bette Davis as Mildred never fails to raise the hair on the back of my neck and arms with her performance, especially in this particular scene.

"Of Human Bondage" remains one of my all-time favorite Davis films along with others such as "The Little Foxes", "The Letter", and "All About Eve".

The Brain That Wouldn't Die

(1962)

"Alive... without a body... fed by an unspeakable horror from hell!"

So reads the tagline for this laughter-inducing horror film.

Dr. Bill Cortner is an egotistical and arrogant physician who likes to experiment with bodies in his spare time. In the first scene, after exclaiming, "He's dead! I can't do any harm!" and "Sure! I've made a few mistakes, but I've learned from them! Learned!" he is allowed by his physician father to take over in the operating room when a patient dies on the table.

Good Dr. Bill is next seen recklessly driving himself and his sweet, horny fiance Jan out to his country house; the car crashes, he salvages Jan's head from the burning wreckage, wraps his prize in his jacket, and runs the rest of the way with it like he's going for a touchdown during a football game. Once he gets to his lab, he sets her all up and presto! It's "Jan in a pan!" as I have heard this film referred to in the past.

Almost immediately his once-sweet lady (well, her head anyway) becomes a screeching shrew hoarsely calling out such lines as "Revenge! I hate him for what he's done to me!" as the desperate doctor goes on the hunt for a suitable body to use for restoring his girl back into something more, uhm, fully functional. His search takes him to strip joints and a beauty contest, to name two avenues he tries before he finds someone he believes to be a suitable candidate, telling her, "I'm going to cut your face off and give away your body, ah ha ha!" as she innocently laughs along.

To add to the fun, there is of course the wretched assistant with a mangled arm; one of the doctor's earlier "mistakes", and the "thing" locked in a closet in the lab. There's also the continual soundtrack of horns and sleazy stripper-like music. As far as the gore factor, this movie is actually pretty gruesome for its time, although the blood seems to be rather conveniently spilled (downstairs, but not upstairs, for instance), and "Jan in a Pan" laughs more maniacally as the movie progresses.

It's never explained how the head can speak without lungs or a body, although it must be the *new and improved* "Adreno-serum" as it's called that's being pumped into Jan's head, but then again who cares? Continuity flubs abound and serve to add to the camp factor. And look for the ending credits, which list the movie as "The Head That Wouldn't Die".

You can find this movie on Amazon.com in a DVD version that has the original film by itself, and also the film as part of an episode of Mystery Science Fiction Theatre 3000, the now-defunct hit TV show. Well, all I had to review this film with was my raggedy old videotape that appears to be degrading, so after watching it again, I gave into temptation and ordered the Amazon DVD of it. It'll be worth having a really good version of this so-bad-it's-funny bomb.

Just a "Teaser" review here...

(1954 and 1955)

I will write something something slightly more substantial next time, but I couldn't resist doing a short blurb on two camp classics I received in the mail and viewed a couple of days ago: "Varietease" and "Teaserama" - 1954 and 1955 short burlesque-type films featuring clips of beautiful '50s pinup icon Bettie Page.

Bettie loses some "coolness points" when she dances, but if you go into frame-by-frame mode on your DVD player it's obvious that each frame of her dancing would have made a great still shot in and of itself. Proof that she was a great poser, and a lousy dancer, but as she has said herself, she was "far from being a professional dancer". She is very appealing despite the fact that neither my husband nor myself could contain our raucous laughter during her dance scenes. Her sparkle and sense of fun are evident throughout, she is in great shape, and her ever-changing and playful facial expressions are absolute treats to see.

Plus! You get to "Hear Bettie speak!" in addition to seeing her jump around - uhhm I mean dance.

The best part of the DVD is a silent, black and white arcade film loop of Bettie created for those old-time coin-activated peep-show viewers....Bettie gyrates up to a point, then the screen is suddenly blocked out with a caption telling the viewer to insert coins to see more of the film. This of course occurs at a regular basis during this particular short, as it did when those types of films were originally shown. Classic camp!

There are also appearances by a rather famous, albeit scary-looking drag queen from the time, and some professional strippers who could have passed for drag queens...but I bought these really just for the Bettie Page segments; these two DVD's are a must-have for Bettie Page fans.

Hello and Welcome (Introduction)

When I was growing up, I spent a lot of time sitting on the floor, two feet away from the TV, watching old movies with my mother while she sat curled up in bed behind me. We had the best time. We watched all the classic silver screen films she grew up with and loved, and we also loved any and all horror movies. We would both be warning some teenager about to get sliced up, "No! Don't go in there! You'll be sorry! Watch out! Look behind you!" as my father would wander into the room and mutter, "What are you two watching now?"

On Saturday nights I'd try to stay up all night to watch an all-night horror feature show called "Shock Theatre." This I would do in my father's study, in front of a small, old, black and white TV brought in from the kitchen, and I'd wear little earphones that worked with the TV so as not to disturb the rest of the family as they slept. My father took the above photo of me before I could even look up from the TV, as I was watching "Shock Theatre" late one night.

My love of films has continued throughout my life. My affection for the older ones prevails, and I have along the way also acquired a love of the campy B horror films such as the ones by William Castle and George Romero. However, my favorite director has been and will always be Alfred Hitchcock.

In college I majored in Commercial Art, and double-minored in Film Criticism, and Creative Writing. For the film minor I had to constantly write papers over the course of the four years of college, reviewing the films we were shown. Some that I remember watching and writing papers on were "Lawrence of Arabia", "The Haunting", "Play Misty for Me", and "The Silent Partner". I also remember writing one entire paper just on the music in "Psycho." To me all of this was like getting paid to rob a candy store.

What has bothered me more and more over the years since has been what seems to be a waning interest in older films, and this includes films that were made just 20 years ago (which isn't even old, but many people seem to think so). I whine a lot to friends about all the lousy remakes of classics that keep getting spewed out. The first two that come to mind are the remakes of "The Stepford Wives" and "The Manchurian Candidate". Blasphemy!

Recently a friend of mine suggested I start a movie review website. My reply was, "Why? I'd just be mostly whining about how movies today suck compared to the older ones, and I'd be telling people which older films to go see. I wouldn't review any of the new dumb movies, I'd be saying, "HEY! Go rent the original 'The Manchurian Candidate' or "HEY! Go rent 'All About Eve!'", ad nauseum.

Well, actually, maybe this isn't such a bad idea. Maybe some people who never would have done so will check out some of these oldies but goodies and enjoy them. Or not.

It helps if you understand up front that my taste in movies includes dark humor, politically incorrect situations, British humor, horror, and camp, in addition to my swooning over long-gone hunks of the silver screen such as my all-time favorite, Gary Cooper.

But no, this is not a movie review. Not yet. Don't be hatin'.